Manasara Series (I. A Dictionary of Hindu Architecture; II. Indian Architecture according to Manasara-Shilpashastra; III. Manasara on Architecture and Sculpture: Sanskrit Text; IV. Architecture of Manasara: Translation; V. Architecture of Manasara: Illustrations; VI. Hindu Architecture in India and Abroad; VII. An Encyclopaedia of Hindu Architecture) v6.c40.s7.28

Mānasāra Series (I. A Dictionary of Hindu Architecture; II. Indian Architecture according to Mānasāra-Śilpaśāstra; III. Mānasāra on Architecture and Sculpture: Sanskrit Text; IV. Architecture of Mānasāra: Translation; V. Architecture of Mānasāra: Illustrations; VI. Hindu Architecture in India and Abroad; VII. An Encyclopaedia of Hindu Architecture) v6.c40.s7.28

Language: English

v6.c40.s7.28

Another remarkable feature of these funerary structures as described in the *Satapatha Brāhmaṇa* is the regulation—‘let there be *chitras* on the back of the *śmaśāna*.’ The commentaries explain *chitras* as natural sceneries. In the case of the brick-built *tumuli*, these *chitras* would be paintings on suitable plaster, but in the case of the stone-built round *chamū* of the Easterners the most suitable *chitras* would be sculptured figures in relief. The nature of these *chitras* is indicated by the reason given: ‘for *chitras* mean offspring.’ Thus the figures painted or carved might have been of women and children, and possibly couples of men and women.

Linked texts (1)

Śatapathabrāhmaṇa — Yājñavalkya & Śāṇḍilya (Vedic teacher), Sanskrit